There’s always debate: which part of the novel is hardest to write. Some say beginning, some argue passionately that no, it’s the end where the problems doth dwell. For me I think it’ll always be the bits in the middle. Specifically the bits between the inciting incident (at around 15-25% through) and the mid-novel climax.
Beginnings are easy: find a good cinematically happy starting point and start writing. No doubt you’ll change your mind half a dozen times before you’re satisfied, and maybe it’ll be a headache in the revision process, but for first drafting I’ve never found it too much of a problem.
As for endings – well, it can be complex to tie up all your threads in a way that’s concise and satisfying, but at least by that point you know what all your threads are. After a certain point you’re writing downhill anyway: you’ve released all your pigeons and now they’re coming home to roost. I find that endings tend to come more or less naturally after all the hard work you’ve put in to the set-up.
No, it’s middles that stymie me. Especially early middles where you’re still unspooling the wires and making big decisions.
Let me illustrate this by giving a few of the major determinations I’ve made in just this section of my current WIP:
- Having a major character be abducted (my inciting incident)
- Deciding how much faffing around my characters should do before she’s found
- Wondering how insane to make major character #2
- Having the ‘court intrigue’ subplot result in major character #3 being exiled from the castle
- Working out how minor character #1 can assist in the search for major character #1
- Working out a location for the character to be held in
- Working out if my characters can go straight there or if there should be a misstep along the way
- Working out the location/details of this misstep
- Working out how this misstep is carried out, with specific reference to French policing techniques and equipment
- Deciding what monster my characters must face at the mid-novel climax – the MNC itself being a whole subset of big doomladen decisions
Every single one of these steps was complicated and involved a lot of deep thought. I’m still setting up the framework for the adventure to come; trying to anticipate my needs for later in the story and giving enough clues, enough evidence to set me on the way to a resolution that convinces and has enough emotional wallop.
I’ve crawled through this section. Writing has been attritional, chip after single chip as I attempt to hew the novel from the great mass of Possibility. And it seems to me that it’s always been like this: this section of the novel contains so many choices, so many set-ups that the rest is almost easy in comparison.
This is, of course, rubbish. Every single bit of a novel is difficult. Everything is the hardest part. That’s just the nature of the beast, kid.
But this is my hardest part. And it probably reflects my lack of outlining or planning to any great degree. Which is ironic, given that I had considered this to be my most planned novel yet attempted. Just goes to show what I know.
Yeah, come to me for advice, folks. I really know what I’m doing.
Stick with me for another month and I’ll be going on about how hard the third quarter of the novel is to wrote.